‘Waitress’ (Broadway Musical) – February 6, 2018

The casting lineup was definitely eye-catching: Sara Bareilles and Jason Mraz. It was more interesting because Sara composed the entire numbers of this musical. In addition, she is my wife’s favorite singer, so there was no doubt we were missing this one.

On 47th Street

The line was long and filled with Sara’s and Jason’s fans. They were full of enthusiasm and curiosity, as was I: how well are these two great singers perform in a musical? With this in mind, we entered the theater. It was a small place, so there was no problem enjoying the show even at the very back of the back seat.

View from my seat

The musical itself was fairly standard, with story full of expected turn of events, multiple scenes with clichés, and the usual jokes. The composition of numbers was too standard to feel any strong emotions.

Jason Mraz was, of course, a great singer. He was successful in delivering great songs, mostly duet with Sara. Yet, his theatrical performance was not as outstanding. His role did not require as much drama, though — more comic, rather — so perhaps it was not much of a problem in enjoying the entire show.

“She Used To Be Mine”, a solo by Sara, might be the top one reason why you should watch this musical. At least this song is what everyone can empathize with. Listening to this song from the writer herself was another huge advantage. All the Sara’s fans must have enjoyed it too.

Thank you for a great performance!

In the end, this was a memorable musical, thanks to the two great singers who have displayed their unexpected theatrical talent.

New York Philharmonic (Jan 26, 2018)

Last week, I went to New York Philharmonic for an all-Prokofiev program. It was my first time ever listening to this composer’s music, so I was nervous and excited at the same time, not knowing what to expect yet looking forward to some novelty.

View from my seat

1. Prokofiev – The Love for Three Oranges Suite

This was an orchestral music for a fantasy themed opera. The music presented an interesting mixture of a fantasy adventure and love. I could definitely feel that the composition also presents a dreamy feeling while the orchestra carried us through a suspenseful adventure, especially in the movements March and Scherzo. The movement Flight suggests an intriguing ending, which conforms to the general ambience of the composition.

2. Prokofiev – Violin Concerto No. 1

This was a concerto that definitely has a Russian emotion. Prokofiev’s signature Scherzo movement was especially interesting, adding energy and enthusiasm to an overall lyrical concerto. The soloist meanwhile exhibited a carefully examined performance, which allowed me to enjoy Prokofiev’s composition in its entirety.

3. Prokofiev – Selections from Romeo and Juliet

This was a selection of pieces from Prokofiev’s ballet. It is worth noting that the ending that Prokofiev had originally intended was, unlike Shakespeare’s, a happy one where Romeo and Juliet successfully regroup. Although he later changed his mind and returned to an old well-known ending, the composition exhibits interestingly distinct interpretation of a well-known story. Displaying majesty and elegance, Dance of the Knights felt like set in a Russian palace than an Italian court. The death scenes of Romeo and Juliet follow down a narrow path towards a sorrowful consolation rather than a bliss favored by the composer.

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This was a great program where I learned about a rather unknown Russian Romantic-era composer, Prokofiev. I have a tendency to like the Russian compositions of around this time period, and upon listening to these three pieces by Prokofiev, I immediately realized that he will be included to the list as well. I look forward to listening to his other compositions that would best serve my taste.

New York Philharmonic (Jan 12, 2018)

Last Friday, I visited the Lincoln Center once more for the New York Philharmonic.

Orchestra rear

1. Tchaikovsky – Violin Concerto

This is actually my favorite piece of my favorite composer. I have listened to many different versions of this concerto, but this one was unique and outstanding. The soloist’s take was a tender and soft interpretation, even mellow. This was quite different from my preconception of a manly Russian romanticism. I had thought that, partly because of the grandiose finale, the theme of this concerto is to show grandeur and majesty. However, the soloist proved otherwise. The smooth and not so rugged execution was vivace at the same time. It was a masterful performance.

2. Esa-Pekka Salonen – Helix

This was a 2005 composition of Esa-Pekka Salonen, the composer-in-residence at the New York Philharmonic. The governing concept of the music was helix. Starting from a slower tempo, the music gets faster while note values take longer. Thus the concept of helix, which consists of concentric circles with decreasing diameter. The composer completes the helix by brining the music to an abrupt end, the vertex of the helix. It was an interesting piece.

 

The Great Wave, Hokusai

3. Debussy – La Mer

In three movements, Debussy portrays the various scenes of the sea. He must have a good understanding about the imagery, since he has dreamed of being a seaman. The composer was also motivated by the Japanese print “The Great Wave” by Hokusai. Therefore, the music contains a Japanese taste; calm yet sometimes bizarre. That is, after all, the appearance of the sea as well. It appears calm, but no one knows when it will turn upside down.

Debussy has produced a musical imagery of the mild tidal waves, the bubbling sea waves, and the raging stormy waves. And as a person gazing at the ocean (or listening to La Mer), I am sometimes at peace and at other times with a heightened spirit, as I watch (or listen to) different forms of waves. It is a symphonic depiction of nature that is not repetitive, presenting new scenes and phrases throughout the piece, just as every natural scene is different. Yet it is always the same body of water and the mass of wind that produce such diverse scenery.

New York Philharmonic (Jan 5, 2018)

Last Friday, I went to a concert at the New York Philharmonic. The program featured Mozart, Tchaikovsky, and Haydn.

Lincoln Center

View from a box seat

1. Mozart – Piano Concerto No. 17

The concert started with this concerto by Mozart. It was a delightfully beautiful opener for the program. It was yet another Mozartian piece in which I thought I know how the music will proceed, only to find later that Mozart had prepared a phrase I haven’t heard of.

The performance of the conductor/pianist was solid. His dual job was successfully carried out – his minute control across his solo parts and the orchestral parts was intriguing and exciting.

2. Tchaikovsky – Variations on a Rococo Theme

This short composition was a stage of exploration for cello. In this piece, Tchaikovsky was trying to revive the charm of Rococo music, and especially was trying to portray Mozart’s style. However, the music is definitely the one of Romantic era, and it was interesting to listen to the Romantic master composer’s interpretation of Classical era.

This piece must also be a cellist’s dream; Tchaikovsky allowed his fellow cellist Wilhelm Fitzenhagen to revise the solo parts before the premiere. The cellist at our concert also seemed to be enjoying her solo performance.

3. Haydn – Symphony No. 98

This was a Haydn symphony, yet with more freedom and a bit of ingenuity. This piece was composed in London, during the composer’s hiatus from aristocratic courts. I could sense melancholy, yet robust tunes that are freely exploring outside Haydn’s typical themes. The connection with Mozart can be found in the second movement. It includes references to Mozart, who has passed away at the time of this symphony’s premiere.

The finale is the culmination of Haydn’s free exploration. It features many turns, exciting the audience until the end, where the fortepiano played by the conductor himself comes in for a moment. The entire piece was full of excitement and I enjoyed it.